1973 | Performance | Phographic record of the object and performance in which the artist covers with a white canvas a painting box and its contents | Collection (photographic record): Franklin Furnace Artis's Books Archives, New York, USA.
"(...) In fact, Rute Gusmão deals with the question of the conventional contributing elements to painting: canvas, chassis, brushes, paint, palette, etc. For example, gradually, in Painting Box, she covers with a white canvas all the contents of the box (and the box itself) of which traditionally painters have made use to create small works. The act of painting -- and in a larger sense one may still refer to it in this case -- was to paint white, with the canvas acting as paint, the various colours that earlier on characterized each one of these materials. A painting in reverse but, for this reason, always a painting."
Extract from the article by Roberto Pontual
Suporte, técnica e imagem [Support, Technique and Image],
Jornal do Brasil, 28/8/1975.
"(...) I believe that this is an important work regarding its conceptual aspect; to paint everything white is to go back to zero, to Malevitch’s nothing, it is to annul expression, chaos. First annul and then reaffirm, deconstruct and then reconstruct."
Extract from the article by Frederico Morais
Ironia e construção nos trapézios de Rute Gusmão [Irony and Construction in Rute Gusmão’s Trapezes],
O Globo, 3/5/1982.
"However, I am foremost interested in Rute Gusmão’s works, especially the two works in which she addresses the issue of painting. In this case, the slides are arranged with the intention of illustrating a certain project (which, by the way, may exist independently). What is the project? To paint white a painting box and everything that it contains: palette, tubes of paint, brushes, jars, etc. White as the negation of colour-painting."
"In another audio visual, Rute Gusmão carries out a work of decodification and/or deconstruction of the picture starting from its material components. And at each phase of destruction (chassis, cloth, etc) she defines the painting in a conceptual manner, and at the end, the canvas is seen as 'theme and support of transitory images'. In both works, especially the latest, there is a clear allusion to the French group Support/Surface (Viallat, Seytour, Rouan etc)."
Extract from an article by Frederico Morais
Audio-visual: nova etapa [Audio Visual: new phase],
O Globo, 22/8/1975.